The Boat
4 stars
Director: Winston Azzopardi
Star: Joe Azzopardi
Duration: 100 mins
Class: 12
KRS Releasing Ltd

When father/son filmmaking duo Winston and Joe Azzopardi made their superb short film Head a couple of years ago, they were already mulling over the idea of developing it into a full-length feature. They went into pre-production almost immediately after the short’s release. And here it is, following on a successful film festival run in the US.

Now named The Boat, the story follows a similar storyline to its predecessor, as a lone unnamed fisherman (Joe Azzopardi) sets off for a day at sea. It is a beautiful Mediterranean sunny day bathed in warm early morning sunlight with the blue sea stretching out for miles ahead as he putters off in his boat. The weather conditions change rapidly and dramatically, as fog comes in from seemingly nowhere, enveloping him completely and causing him to crash into a sailing boat.

Finding no-one aboard, he is dismayed to discover his own boat has disappeared. As he tries to radio for help to no avail, he slowly realises he is in a bit of a predicament as the boat drifts aimlessly in the water farther and farther away from the coastline with nary another vessel in sight.

Having thoroughly enjoyed Head, I was curious to see how the Azzopardis would expand the storyline. In fact, they don’t per se: the story remains the same, and they clearly subscribe to the principle that the best films work on the simplest of premises. The Boat’s could not be simpler.

That simplicity worked to great effect in 20 minutes; but expanding to a full-length feature brings about its own challenges, most obvious being how to sustain the nerve-shredding tension that permeated Head over a running time three-and-a-half times its original length.

Each scene only ratchets up the tension further

Two words: they do. I won’t share anything in terms of how the plot develops and the considerable challenges that the man faces. I will leave that for the audience to discover and experience. Suffice it to say that it is a discomfiting and chilling ride throughout, as each scene only ratchets up the tension further when the realisation that the boat seemingly has a mind of its own sinks in, and the man is facing clear and present danger.

There are scenes which will have the audience squirming in their seats and holding their breath wondering what comes next… and there will be lots of breath-holding, I can tell you, not least for those with a bit of a claustrophobia.

Although he has sparse dialogue to work with, Joe Azzopardi projects the man’s myriad emotions with consummate ease: initial puzzlement that soon morphs into fear and ultimately abject helplessness and physical and emotional pain. The audience is soon rooting for him to get the hell out of there.

My only relatively minor quibble is that I’d have liked just a little more background about him, because as it is, we engage with him on a purely visceral level rather than an emotional one. All we know is that he is a fisherman and an important one, which explains the ease by which he manages to get out of a hairy situation or two.

That said, this doesn’t diffuse the tension one jot. On the contrary, it almost enhances it given that to his dismay, his expertise does not always prove useful to his survival in this battle of wits with this relentless, unseen foe.

The actor may be the only human in the film, while the titular Boat sure makes its presence felt, but the film has a third, equally important character – the score by Lachlan Anderson which perfectly matches the action, its urgent notes effectively augmenting the tension and drama significantly.

Cinematographer Marek Tra­kowski in the meantime expertly captures the alternating serene seascapes, terrible tempests and claustrophobic confines of the boat’s interiors that provide the background to the unfolding terrors.

Winston Azzopardi, having clearly absorbed a vast amount of knowledge in his years as a film producer, directs the script he co-wrote with Joe with confidence and panache.

Pernickety audiences may feel a tad disappointed that – spoiler alert! – the script does not quite tie things up neatly. It is to the Azzopardis’ credit that they maintain the aura of mystery until the very end, but one cannot help but ask the question: are they already thinking of The Return of The Boat?

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